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Guerrero's setting of the responsory from Matins for the Dead, Hei mihi, Domine was inserted into a setting of the Mass for the Dead, published in 1582. Unlike the Mass itself which as you might expect relies heavily on the plainchant the motet is much more freely composed with very rich and full textures that contrasts to great effect with the austerity of the Mass' four-part setting. It's a very skilfully composed piece of and Guerrero seems to have been proud of it as he published it twice more in collections of his motets. Enjoy :-).

This very affecting motet is one of two introductory motets for the 'Miserere' that Vivaldi composed for the Pietà to be sung during Holy Week. It dates from sometime around 1715. The 'Daughters of Jerusalem' who are upon to witness the Crucifixion are a metaphor for the figlie di coro of the Pietà. The singer bewails the crucified Christ in the first aria. The second aria with its word-painting lists the Arcadian delights to be forgone, while the third movement is a recitative whose penultimate word – 'miserere' cued the following psalm. It's sung below in a live performance given by Andreas Scholl at a concert given on July 6th 2013 at Basilique Notre-Dame, Beaune. Enjoy :-).

Josquin's setting of the Psalm Miserere mei, Deus, (Psalm 50, Psalm 51 in the vulgate)is associated with Ash Wednesday, Holy Week, and other penitential occasions. It's a lenghty piece that's one of his most impressive pieces of music and probably was first performed in 1504 during Josquin's stay at the court of Ferrara.

Josquin's settings tend to the spare and economical and his Miserere is no exception – it's downright austere relying as it does on bare perfect intervals and sparing use of homophony. The effect of this ís to put the music strictly at the service of the text. The motet is plain, unadorned, 'musically naked' as Fuhrman 1 puts it and oh so very very beautiful.